Search Results for: World Salsa

Cuban singer Daymé Arocena and her pride of being Afrocuban

This is our conversation

Here we are with Cuban artist Daymé Arocena who lives now in Canada. How are you, Daymé? Nice to meet you and great to have you here today.

Hello, nice to meet you. Thank you very much for the invitation. It is my pleasure to be here talking to you.

I understand that your musical career started at the age of eight. What made you start walking this path? What was the experience that made you make that decision?

I never made the decision to become a musician. I think it was part of the package. I never said that this is what I wanted to do because I’ve always done it. From the age of eight, my parents began taking me to music lessons and preparing me to came to the art and music school and the conservatory of music. I started singing with the choir in the community of 10 de octubre, where I came from. That’s how I started performing and getting up on stage as a soloist of a choir.

Daymé Arocena was born in Havana, Cuba

Considering that you come from a musical family and that music was always present at home, I imagine that also influenced your interest in making a career of it.

My family is profoundly musical, but they are not professional musicians. My dad is a music lover, but he is not a musician. My mother is a health care worker, qualified as a child cardiovascular surgeon. Actually, these are people who have a very nice sensibility for music, but they are not professionally dedicated to it.

I grew up in an intense environment. My house had many people; when I was born, there were already 22 people living at home, but some of them found more comfortable spaces to move and we became a family of 14. I was born in the 90’s, which was when the big crisis occurred and big power cuts were more frequent. There were electricitiy for very few moments during the day, so we couldn’t listen to the radio or TV. Then, my uncles and cousins kept singing, so I grew up watching the family sing and dance. In fact, several of my cousins today are folk musicians who went on to play in various traditional musical groups. It was a deeply spontaneous issue. I saw people enjoying and trying to alleviate the sufferings and shortages they were experiencing.

I imagine that musical and artistical growth in this context was very difficult. What challenges did you face in Cuba in becoming the artist you are today?

The mere fact of being born in Cuba is a challenge, but I had to face things beyond the fact that I was born on an island ruled by a dictatorial regime and all that that means. There was a lot of deep racism and a way to slyly to deal with social classes. For all these years, I have tried to purge my energy of resentment and pain caused by the situation and turn all these feelings into light and creativity. In my case, A lot of things happened like feeling uncomfortable in my own skin and not knowing how to deal with my skin color, my hair and my race. Today, I am deeply proud of my blackness and defend it to the death, but I went through a very hard and aggressive process before that.

The young and not so young prople have to know that you can make art and music through your own essence without having to please the eyes of a few.

So you would say that those things that were an obstacle are now part of your cover letter.

Totally. And proudly, too.

Daymé is deeply proud of her blackness

After leaving Cuba

When you left Cuba, what kind of support did you receive? What was the hardest moment?

Although I’ve spent years touring and working for years, I made the decision to leave Cuba a couple of years ago. I received a lot of international support that made my music visible, but it started playing long before I left my country. In Cuba, there is a control mechanism for artists consisting on a permit issued by the minister of culture to be able to practice that profession.

You can graduate from art school with full honors in the world, but that’s irrelevant because you graduate to be a music teacher, not a musician as such. In order to go on stage and get paid for your work, you need a permit issued by the Minister of Culture himself. To get it, you have to go through a lot of bureaucratic barriers such as commissions, auditions, among others. I didn’t have that permit to sing and profit from my singing when I met the record label that launched me as an artist. One day, I was singing in a deeply underground space without anyone’s permission. When I started to sneak into those spaces, my mom always told me to sing with energy because I never knew who was going to listen to me.

One day of those, a person named François Renié was watching me from the audience. This man was the creative director of the Havana Cultura platform. At that moment, they asked me to make a record with international DJs and singers. They invited me to do a casting, I showed up there, was selected and recorded the album despite not having permission to sing. When I was invited to the realease of the record in England, I showed them the music I Wrote and they offered me to sign with them officially.

You have been compared to Celia Cruz, Nina Simone and other artists of this stature because of your style, what do you have to say?

I had no idea who Celia Cruz was and it’s something I’m ashamed of. When I was compared with Celia Cruz, I wondered who she was. I think I really knew her following those comparisons.

Daymé thinks new generations have to know who Celia Cruz was

I think it has to do with that idea of homogenizing Cuban music into one thing. It was when I was compared with Celia that I started to find out about her and knew that she was the most universal of Cuban artists. She had a phenomenal way of petforming, transmitting, impacting and being as authentic. Musicians who do have access to Celia must do their utmost to let the new generations know who she was. If they can’t listen to her on the radio or TV, they can go online to listen to her and find out who La Guarachera de Cuba was.

How do you think Canadians perceive your music?

I have done very few concerts in Canada as a soloist. In fact, I’m not even there at the moment, but in Puerto Rico. I can’t provide an overview of how Canadians perceive me, but I do think that they are super friendly, docile and open to all kinds of music. They appreciate, dance and enjoy whatever you play. I must thank my ancestors for the expansion of my music beyond the Canadian framework, so I don’t rely on that market for a living.

Do you plan to stay in Puerto Rico permanently?

I came to Puerto Rico to record my next album. I’m super happy and honored to be able to do it on this island so similar to mine because it has so much culture and colorful art. Here, I found the industrialization and visibility that Cuba doesn’t have. I still don’t know if I’m going to stay here for the rest of my life, since Canada enters into my plans in some way, but this is the stage I must live now.

Daymé Arocena is now living in Puerto Rico and recording her new album

Europe – May 2022

Palladium in the New Millenium engalana el “Lehman Center for the Performing Arts”

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York’s Bronx.

This concert coincides with the coming of age celebration of the establishment of The Big Three Palladium Orchestra. The initial idea of bringing together the three great Palladium orchestras in this innovative concept came to Mario Grillo, better known in the music world as Machito, Jr. approximately twenty-one years ago.

His counterpart, Tito Rodriguez, Jr. told me about it and, thanks to his complicity, I had a pleasant conversation during which Machito, Jr. shared with me a myriad of details. Having previously collected and shared the conversations I had with Tito, Jr. and later with Machito, Jr. I must now share the point of view of the youngest of the three mambo heirs -Tito Puente, Jr.- about this trilogy, among other things. During the beginnings of this historic reunion, Tito Puente, Jr. was barely 30 years old.

As with me, the two oldest members of the trilogy have been very supportive of Tito Puente, Jr. During an exclusive interview granted for this special assignment, Tito Puente, Jr. expressed his deep appreciation for having been so lovingly guided by Tito Rodriguez, Jr. and Machito, Jr. to the recording of what has become the legacy of the Palladium big three: The Big Three Palladium Orchestra live at the Blue Note (2004).

On March 5, 2022, the heirs to the mambo will reunite once again, this time the concert entitled Palladium in the New Millennium will grace the Lehman Center for the Performing Arts in the heart of New York's Bronx. — Palladium in the New Millenium engalana el “Lehman Center for the Performing Arts” en pleno corazón del Bronx de New York

The youngest of the three heirs of the mambo is doubly celebrating, as he has just released his sixth production, entitled The King and I. It contains nine tracks, as you can hear on the album. It contains nine tracks, as detailed below: Picadillo, featuring Humberto Ramírez on trumpet; Salsa na ma, featuring José Alberto “El Canario” on vocals; Pa los rumberos, with a masterful performance by Domingo Quiñones; Oye como va, with a performance by “Mulato Rumbero”, Michael Stuart; Para la niña y pa la señora, with none other than Miguel Angel Barcasnegras, better known as “Meñique” (EPD) on vocals; Hong Kong mambo, instrumental theme that highlights the Puente dynasty, with Ronnie Puente on xylophone; El bribón del aguacero, with Yolanda Duke on vocals; 20 años and El Rey del Timbal. Let’s be clear that this album is not the big band arrangement to which the eternal King of the Timbal has accustomed us. It is, however, the best tribute that the youngest of the three heirs of the Palladium pays to his father, keeping the legacy alive and kicking.

As you can see, each of the “Palladium’s Big Three” inherited a timbalero son. Coincidentally, Machito, Jr., Tito Rodríguez, Jr. and Tito Puente, Jr. grew up surrounded by music. Their family environments, respectively, supported them. Indeed, today, all three are musicians. These three bandleaders have made it their mission to keep the Palladium legacy alive and well. Although the mambo heirs have transcended the label of being the sons of the mambo owners, they do not forget that the Patriarchs are still a topic of conversation in musical circles around the world.

As the past is the past and the future is uncertain, here we are already waiting in despair. For this new reunion, first-class musicians have been secured, backing up the three heirs of the mambo. The musical constellation that will be part of this historic night is formed by: Carmen Laboy on baritone saxophone and musical direction, Jorge Castro on tenor saxophone, Mark Friedman and Al Acosta on alto saxophones; Larry Moses, Seneca Black, Mike Mossman, and John Carlson on trumpets; Gilberto Colón, Jr. on piano, Jerry Madera on bass, John “Dandy” Rodríguez on bongo and Eddie Montalvo on tumbadoras. On the vocal front, Sammy Gonzalez, Jr. leads with Luisito Rosario and Jeremy Montalvo on backing vocals.

I for one continue to live in salsa, which to put it in more earthly terms is, simply put: magic, fantasy, and illusion.

Article of Interest: Sigo entre amigos de Luis “Perico” Ortiz

By: Bella Martinez “The Irreverent Salsa Writer”

Puerto Rico

To speak of Leonardo Ortiz Chacón is to speak of a musical institution of Mexico

Performer of the tres, composer, arranger, music and radio producer, director and founder of Combo Ninguno since 1983.

He studied at the Faculty of Music of the UV, in JAZZUV, in Musinetwork in Boston MA and with teachers Luis Martinez, Carlos Tercero and Edgar Dorantes, he is a teacher of Musical Education in the Ministry of Education of Veracruz and since January 2019 participates in the direction of the Papakilistli Orchestra of the same Secretariat.

He has collaborated in television as musical director of the program “Cómo suena la clave” in TV Más. He is currently producer and host of the program “Cadencia Caribe”.

Since 1983 in Xalapa, the members of Combo perform dance music from the Antilles, integrating a repertoire with their own creations and original arrangements to themes of other authors in different musical genres such as son, guaracha, mambo, merengue, danzón, bolero, etc, achieving in their thematic diversity, a unique sound full of references to their native state of Veracruz.

He has taught workshops of appreciation and execution of Caribbean music and has participated as a lecturer and speaker on this subject in countless events, have been presented in Spain, Cuba, United States and Canada.

Accessing different forums from the small and improvised street space to large venues with capacity for tens of thousands of spectators such as the Azteca stadium or the Salsa Fest in Boca del Rio.

He has performed at prestigious cultural festivals such as the Cervantino, the Quimera, the Afro-Caribbean of Veracruz, the Vancouver Folk Festival and the International of Houston, at Fairs such as the San Marcos and the Expo Sevilla, Carnivals such as the one of Veracruz, Havana and the Mardi Gras in New Orleans and Galveston Texas.

Maestro Leo, how can you define yourself in the music scene?

Leonardo Ortiz Chacón is to speak of a musical institution in Mexico. — Leonardo Ortiz Chacón Tres player, composer, arranger, music and radio producer

I see myself as someone captivated by this music since I heard it for the first time, thanks to it I have been able to enjoy unforgettable moments and for many years I have not had a day in my life without doing something related to music. Be it as a performer, manager, broadcaster, props man, audio manager, producer, etc.

I understand that you have had many presentations abroad?

For me there have been many and I would like to have more. I think I have been fortunate to take advantage of the opportunities that have presented themselves with Combo Ninguno. I must say that personally I would never have been able to be in the places where music has taken me.

As part of your presentations you toured the U.S. How pleasant was the experience?

At one time we participated in a project to promote tourism in the State of Veracruz and we continually visited the State of Texas and then extended to Louisiana and Colorado, thanks to this an American promoter invited us to tour from coast to coast presenting a show of music and dance that began in New Hampshire and continued in New York, Pennsylvania, Illinois and other states to conclude in California after performing in New Mexico and Arizona. The program of the presentations was with original repertoire and Mexican authors.

What did it mean to you to perform for the first time in such a musical country where many great exponents of the island of Cuba came from?tional in 1989 at the Na Theater of Cuba

For me this was one of the memorable moments that I thank to music, the fact of participating with Combo Ninguno in a Gala dedicated to Mexico, in such an important place in Cuba, the country where this music was born.

I tell you that my emotion was so great that at the beginning of our performance, I could not complete the first verse of the song with which we opened, it was El jarocho by Lino Carrillo, I had to sing: Jarocho yo soy señores and I only said Jarocho, the rest was a sort of incomprehensible sounds that I could emit with a lump in my throat.

Have you had an endless number of participations in Cultural Festivals, which is the one that leaves a mark on you in your own country?

I can’t say one in particular, I remember presentations at anti-nuclear rallies where there were children, young people, adults and elderly people that were not festivals strictly speaking, a Cervantino festival where in the middle of a downpour people danced in the Alhóndiga de Granaditas under an impressive downpour, the Festival de la Nueva Canción Mexicana where we performed for the first time in 1983. And I could go on mentioning many more.

How did the Como Suena La Clave Festival come about?

This festival arises with the intention of being a showcase where to make visible and position the Mexican orchestras with original proposal. Trying to promote, preserve and spread salsa music made in Mexico.

At first the orchestras were invited to play original arrangements of songs by other composers, then they were asked to play music by national composers and nowadays they are asked to play original music complemented of course with songs by national composers.

You don’t stop, you continue harvesting and now the project Coloquio Musical Afroantillano is born, why make this new proposal?

I think that in Mexico little is reflected and little is written about this genre. It seems that when we take the music out of the dance floor, we lose the rhythm and also the step.

For some time now, most of the debates on this subject have taken place backstage and in the places where musicians and some dancers gather to refresh themselves after the events. Recently, social networks have continued with this exercise, I must point out that for decades the main topic to be discussed has been: Does salsa exist or not? Should it be called salsa or son? And I believe that among other issues, we have left aside fundamental matters such as the creative part, the economic aspect and the diffusion.

Based on this consideration and thanks to the support of Rafael Figueroa, the Festival Como suena la clave, the Centro de Estudios de la Cultura y la Comunicación of the Universidad Veracruzana and the Red de estudios de la Música Afroantillana en México convened the Colloquium La música afroantillana en México: confluencias y divergencias where the participants in a framework of cordiality and respect have made valuable contributions that will be included in a report that will be released as a digital multimedia document for free distribution.

Do you think that the music called salsa is evolving worldwide?

I don’t have the slightest doubt about it, just as I don’t hesitate to mention that due to diffusion factors we only know a small part of the new salsa music that is being made in many places and that perhaps most of the music that is more accessible to us on digital platforms is not the best.

Have you experienced the best times in music today, and what do you think is missing?

Among other things, today and always it will be necessary to contribute new music that increases the cultural heritage of this genre. We need to talk about our present without forgetting the past, about our environment and our daily life in a globalized world. We need to speak our own language and disseminate these productions in the best possible way, trying to overcome the reluctance of many towards what is new and what does not come from the places where this music has traditionally been produced.

Already with seventeen record productions, now that you have worked on them, which is the production that has marked the history of Combo Ninguno? What has been the one that has left the greatest mark on you?

Undoubtedly the most significant record production is the first one, in it, as in each of the subsequent ones, our desires and also our possibilities and limitations are recorded musically. The most present record you have now is the one you are making or that you intend to make. Each record becomes a part of your musical history and your own life.

Have I heard salsa with the jalapeño touch mentioned because of that phrase?

In our case it is an advertising phrase that alludes to the hot sauce. Salsa with jalapeño flavor. Initially it was used for our presentations in the United States where the chili peppers are called jalapeños. Today we use it by writing jalapeños with an x.

Combo None other cultural heritage that we have while we are still alive that you feel after 39 years in the music industry?

I’m looking forward to at least as many more. Looking back I realize that Combo Ninguno became a life project that has filled my days with music, so there will always be little I can do for music.

What do you expect from Leonardo Ortiz Combo Ninguno?

I have two record productions pending with Combo Ninguno, one of them is already quite advanced and I hope to finish both this year. I hope to give continuity to the Festival Como suena la clave and continue participating and enjoying everything that has to do with salsa made in Mexico.

Maestro, what would you like to say goodbye with and what message would you like to leave to the new generations?

I would invite them, besides the musical study, to try to make their contribution and leave their name in the salsa made in Mexico, to document their creativity in our reality and then communicate it in their creations, I would also ask them to debate and collaborate with their colleagues.

DISCOGRAPHY

In their discographic work we can see a style that can be projected without problems towards the universal, but that does not cease to feed on their own Veracruz identity by offering us a combination of traditional and original pieces that exude Veracruz and Afro-Hispanic Caribbean flavor.

To date they have made seventeen recordings, seven exclusively of combo none:

– Tumba Verde (1987)

– Traigo este son (1990)

– Son de amor (1994)

– Carnaval Veracruzano (2001)

– Con Sabor a Veracruz (2005)

– La Bruja recorded at the 17th Afro-Caribbean Festival Veracruz 2011 (2012)

– Inventario- Combo Ninguno, of which the singles Descarga de las flores, Calaveritas de Azúcar and Alambre, cuero y madera have been presented.

And ten productions in which they intervene with other groups:

– Son 13 rolas antinucleares (1989).

– Somos indios (1995)

– Homenaje a Luis Martínez, recorded live at Barlovento de Xalapa in the 1st.

Festival Como Suena la Clave 1997 (1998)

– Tribute to Carlos Pitalúa, recorded live at Barlovento de Xalapa in the 2nd Festival Como Suena la Clave 1998 (1998).

Festival Como Suena la Clave 1998 (1999)

– From Son to Danzón (2000)

– Tribute to Emilio Domínguez, recorded live at Barlovento de Xalapa in the 3rd Festival Como Suena la Clave 1998 (2000)

3rd Festival Como Suena la Clave 2004 (2010)

– Con sabor a Veracruz-RTV music (2012)

– Tribute to Toña la Negra, a recording that records the V Festival Como Suena la Clave

Clave Festival held in Veracruz, Veracruz, Ver (2013)

– Salsa a la veracruzana, recording of the VI Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz, Veracruz (2015).

Veracruz, Ver (2015)

– Al Son del Covid, record of the VII Festival Como Suena la Clave held in Veracruz, Veracruz, Veracruz (2015).

virtual way in December 2020.

Erika Muñoz (La Mulata Rumbera)

Article of Interest: Maestro Jorge Anselmo Barrientos Silva, conductor, arranger and composer

Pedro González

Musician, Instructor, And Pioneer Of Salsa Casino In Venezuela

“If people dedicate themselves to this, it is because we are doing it well.” This nice phrase arose from the pleasant and attractive telephone conversation about the history of the pioneer of Salsa Casino in Venezuela, the charismatic Cuban-Venezuelan musician and instructor Pedro González.

This affable musician and Salsa Casino instructor told us that he carved out his career from a very young age. He was born in Havana (Cuba) in 1966 and began his musical studies at the National School of Arts in the Havana capital at the age of ten, graduating in the specialty of Guitar (Short Course of 8 years) in 1984.

He comes from a musical family, his grandmother was the soprano Rosa “La China” and his mother (teacher and school principal) Zoe Portuondo Suarez, a distant relative of the singer Omara Portuondo.

“…Since I was little I liked to dance, I would dance everywhere. I learned with my cousin… I went to places like Playa… Besides, my mother danced a lot and my grandmother was a singer and she was also linked to the world of art…” Pedro commented.

His first job was as a music teacher in the Pinar del Río city, three hours from Havana. A short time later, he joins the Caranday group, and they play Son Cubano every night at the luxurious Hotel Nacional De Cuba.

After 45 days from his first presentation with the group, they meet the Venezuelan businessman Martín Gutiérrez, who takes them to Venezuela in 1993 to perform at private parties in the Falcón state.

Due to the few opportunities he had in Cuba, he decided to stay in Venezuela and formed the Latino Son band, made up of four Cuban musicians, and in turn began to be members of the Tropicana-style Cuban Fiesta Magazine (Show with a range of musical genres, interaction with guest singers, and dancers) in nightclubs of the Capital.

In Moments of pause with the musical magazine (1997), he undertook a tour with the Latino Son group with whom he traveled for almost all of Venezuela and toured the main stages of large national festivals such as La Feria del Sol (Mérida), Feria de San Sebastián (San Cristóbal), and La Feria de la Chinita (Zulia) among many others.

“We played permanently at La Giralda… At La Giralda we organized a party playing the Cuban Timba, then, there they called us “The Cuban Orchestra” in 1996, 1997, and 1998…”

During the ’90s and already residing in Venezuela, Pedro became the first Salsa Casino instructor in Venezuela without planning it as a life plan, and in 2000 he founded his homonymous academy that has graduated thousands of fans of this style of salsa dance.

Dancing is one thing that keeps you active. That is good for the body. If you have a problem in two hours or an hour and a half dancing you forget it. For my part, I like to teach… And, I like people to have fun.” Pedro González

History And Evolution Of The Academy Dance

Pedro González with burgundy flannel and four women on the sides — Pedro González is the President of the Salsa Casino Organization in Venezuela

One night at the end of the 90s, Pedro along with his friend Milan (Medical and Countryman) began to remember the Dance of the Casino in La Giralda (old venue to listen to live music and enjoy various drinks on the Boulevard de Sábana Grande – Caracas) after his customary presentation with the Latino Son group.

Both began to stand out on the dance floor with the genre of La Timba and for a way of dancing Salsa different from the one practiced in Venezuela. “We began to dance with two Venezuelan girls in the Rueda style (which was not a Rueda because there must be 3 couples)… I began to say Milan “Give me one”, “Plugin”, “The Hat”, and we began to dance the Casino Style”. Pedro “El Cubano” told us between laughs during the interview.

The two ladies were so impressed by that way of dancing that they did not hesitate for a moment to ask Pedro for dance lessons. After so much insistence, “El Cubano” agreed for the first time to give Salsa Casino classes in the capital of Venezuela in an improvised and reduced space with his first five couples. “I am from the Cerro municipality, which is the closest to Old Havana. I used to go to Playa (Municipality of Havana) a lot to dance and I learned many dances and turns…”

And so Salsa Casino began spontaneously in 1999. By the following year (2000), Pedro had 20 couples and a larger room to teach.

The evolution of him in his rise during this year was impressive. Due to the influx of students, he began to teach in the blue auditorium of the Faculty of Economic and Social Sciences (Faces) of the most prestigious University in the country, the Central University of Venezuela (UCV) through Reinaldo Mijares, Director, and choreographer of the contemporary dance “Mudanza” attached to this institution and where González assures that this movement grows.

From there, he gave way to the Casa Monagas club, a place located in the Las Acacias sector (west of Caracas) behind the UCV with the capacity to hold up to 1,000 people. Here, Pedro’s students had more space to rehearse, and Salsa Casino Parties began to be organized monthly.

Pedro González with a blue shirt dancing with two women — Dance academies in Venezuela were teaching Puerto Rican Salsa Style in the year 2000

With this overwhelming success, the creation of the Academia Salsa Casino in Caracas was imminent. It had massive attendance, national impact with graduate students, and attendance at national and international festivals such as Curacao Salsa Tour, Festivals in Cuba, and an amazing show at the Amador Bendayán Theater.

With more than 20 years of teaching Salsa lessons, Pedro has graduated more than 2000 students and changed its name to Academia Pedro González. It currently has five locations: Sábana Grande (main location), Chacaíto, San Antonio de los Altos (Los Teques), Capitolio, and El Cafetal.

The classes are aimed at children and adults. The call is open, so you can sign up without a partner and don’t worry because the essence of the Rueda remains. The estimated graduation time is three years with four basic levels, four intermediate levels, six advanced levels, you will also receive a triple casino level, two dance technique levels, and to complete the process a final choreographic exam is done.

Every dance lesson is fun because of Pedro’s ability to teach. The names of each step such as “Pégale un Cacho” are adapted to the colloquial vocabulary of the Venezuelan so that it is easy and fast to learn.

Due to Covid-19, the Pedro González Academy makes the use of the mask and antibacterial gel an essential requirement for permanence within the institution, as well as reducing the maximum number of couples per level to only ten.

Vanessa Lovera y sus amigas vestidas de negro — Vanessa Lovera (Left) accompanied by two Salsa Casino dancers at the Caracas Carnival party

At the main headquarters, there are four instructors. One of them is Vanessa Lovera, a graduate instructor from the academy. For Pedro, she has been unconditional support in difficult moments of the institution. Vanessa teaches Salsa Casino and Ballroom Dance. You can also find her at the El Cafetal headquarters, but if you prefer the main headquarters, the address is as follows: Sábana Grande Boulevard, Fénix building, 5th floor, next to the Gran Café.

For this 2022 and if there is a return to normality, the Cuban instructor and musician residing in Venezuela hopes to resume the lost spaces in Caracas such as discos, nightclubs, presentations in theaters, once again hold large Salsa Casino parties in large rooms, the return of national competitions, and the continuation of the training of instructors in person (it is only online currently).

Casino Dance Or Salsa Casino?

Club Casino Deportivo in Havana, Cuba — Club Casino Deportivo no longer exists. Nowadays only the sports fields were preserved of this infrastructure.

According to the friendly instructor Pedro González, the origin of Salsa Casino on the island of Cuba has a unique story that begins like this…

Since 1956 numerous Cuban orchestras have been registered that played very popular and contagious musical genres such as Cha Cha Cha, Guaracha, Mambo, and Son. Rhythms that invited the young inhabitants of Cuba of this time to just want to dance and have fun all night with these melodies, but they not only wanted to do it with their partners but also with those of their friends, acquaintances, and strangers. However, for this decade that was not allowed because the rules of the strict and conservative society dictated it.

In this way and with the pursuit of that goal, the gentlemen created this style of dance. A style that did not require constant practice and where partners could be exchanged using keywords such as “Plugin” to perform the movement and for the theory to be carried out perfectly without altering society. The place where this event was recorded was Casino Deportivo, a private summer vacation club located in the Miramar residential area in Havana.

“We (in Venezuela) call it Salsa Casino because it is the commercial name already used in the United States. In Europe they call it Salsa Cubana, but the original name is Baile Del Casino”. Pedro Gonzalez

That is why at the end of 1950 this style of dance began to be generated that people internationally associate with the style of gambling performed in a Casino because it is a dance in Rueda.

The popular expression of most people in Cuba every time they saw this peculiar way of dancing was to say “Ah! But you are dancing like the people of the Casino (Casino Deportivo Club)” that each day was shortening the expression until reaching the Baile Del Casino.

The peculiarity of this dance style is that it does not have a musical genre, that is, no melody that identifies it. For example, a Danzón is danced with the music of the Danzón, the same happens with the Cha Cha Cha, Mambo, Son, and Bolero. There is no rhythm called Casino, therefore this style acclaimed in the world and preferred by Cubans began with the music that existed in this glorious decade of the ’50s.

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